You’ve written some great manuscripts, submitted to a bunch of agents you admire,

…and then you wait.

Either you get a request for more information and perhaps an invitation to chat, or a rejection.

Or you may wait and wait, because the agent is so overwhelmed. They are dealing with tons of submissions, sending their existing clients’ work out, negotiating contracts, reading client’s novels, etc.

It can take them forever. Some don’t even respond because your submission has fallen through the cracks or that’s just their policy.

And then….,

finally….,

you get either of the former responses with that longed for yes, or they break your heart with a no.

So what’s up with that? How does an agent choose who they represent?

I’d like to start by saying there is no one surefire way or formula that agents use to choose who they represent. Each agent has different criteria that exists somewhere on a spectrum between loving your work, liking you, and being able to sell your work. Sometimes they choose strategically in terms of what they know editors are looking for and what they see as future marketable trends. Sometimes they choose by intuition or gut, but usually it’s a combination of both. Apart from the heartfelt creativity that goes into writing, illustrating, editing, art directing and designing a book, children’s book publishing is a business. Until an agent has been in the business a while, one of their clients has a huge hit, or several have big hits, it pays very little for a lot of work (sometimes a few hundred for months of work). In fact more agents are teaching these days to supplement their income, something that used to be verboten in the past because they just can’t survive on what they earn as an agent.

I recently wrote a post about why so many editors and agents are overworked and overwhelmed in relation to the last decade or so of the history of the publishing industry. It’s on the fabulous Tara Lazar’s blog. Tara is the founder of the Picture Book Idea Month (PiBoMoId) event, which I encourage everyone to participate in. Here’s the link http://taralazar.com/2014/01/13/outside-inside-publishing/ I think it’s been my most popular post ever based on the comments.

This article explains why agents have to have screening processes. For me, after knowing authors’ and illustrators’ work either through my courses or the internet, the first thing is professionalism beginning with how well written your submission is. I recently did a webinar/workshop on this topic that will be part of the most extravagant ever upcoming interactive craft and business of writing children’s books e-course with Sudipta Bardhan-Quallen, Mandy Yates and me (and probably my last time teaching it) here http://www.childrensbookacademy.com/writing-childrens-picture-books.html But whether you can take the course or not, here’s the essence of what I shared: Publishing is relational. Meet editors and agents at conferences and events or online in courses or webinars or any way that you can in an organic and respectful way. You need a fantastic submissions package. Here’s a little checklist:

Is what you’re submitting magical because it’s been revised a squillion times and critiqued by an expert or a brilliant critique group?

Is your cover letter and work extremely well written and properly formatted?

Have you used some text or the tone from your manuscript with the same level of attention to detail and language?

Does your cover letter or query include great short pitches not only for what you are submitting but also brief descriptions of other works in progress?

Have you researched whom you are submitting to, to see if they are going to be a good fit for you and vice versa?

Have you done your research as to what else is out there that’s similar in either tone or subject matter and briefly included that in your cover letter?

And have you included a brief bio about why you are qualified as a writer, perhaps an expert in what you are writing about (especially if it’s nonfiction) and how might your work and self be marketable?

I know some of you may be squirming, but as I mentioned earlier, publishing is a combination of business, creativity, and heart that varies on a spectrum according to each publisher or agent. Agents and publishers cannot stay in business without marketing and sales. That’s why we changed our logo over at the Children’s Book Academy to Boris, the heartful, creative, businessman bear, to help students learn those things in practical ways. We also have Marge, the Can Do wife (Boris likes strong women), and Baby Buddha Bear, who will be coming soon (but that’s another story). Finally: Know that whether an agent accepts you or not is a combination of how much they respond to your work, whether they think they can sell it, whether you look like you are going to be wonderful to work with, and just plain luck as to whether they are having a good day or are feeling like they have too many clients already and are overwhelmed. Use Don Miguel Ruiz’s agreement from the Four Agreements to never personalize anything. A rejection says nothing about you or your work other than you may not be a good fit for that agent at that time or your work might not be quite ready yet. Be the best that you can be as a lifelong learner taking courses, participating in challenges and fabulous critique groups, attending conferences and doing whatever you can to improve your craft and find out what’s happening in the contemporary children’s book market. And keep submitting. I hope this post has been helpful. If it was helpful, please leave a comment below.

Mira Reisberg is the founding instructor of the Children's book Academy. In her full life she has worked as an award-winning best-selling illustrator, writer, art director, designer, freelance editor, children's literature professor, and mentor/teacher to many now very successful former students. Last year she also became a children's literary agent. Mira is currently phasing out of teaching, which she dearly loves, to focus more on her agenting, which she also dearly loves. Mira has a picture book writing e-Course starting February 10th right here!!

Hello Mira
Thank you for your article.
I have a question : do you think I could find a good agent to represent me in the english speaking world ?(I am "french" scottish mom and dutch father, brought up in France from the age of 6)
I have two english published books with Top That publishers. They have done a gret job selling them ! Numbers that I have never had in France but who bring much less money ! ;)
Also a bilingual small comic book (to learn english or french) and the rest are french PB (around 34).
Why do I like writing in english ? It's the language I was read too as a child. And I feel you can say things in a way you can't say them in french !
All this to ask if it is utopic for me to try and have an agent ? (it's very uncomon in France)
Another question: why on earth do they want these query letters that seem to be the most difficult thing to do ? ;)
Do we always have to follow the rules ? Can't we be diffrent ? :)

Hi Nicole, I went and had a peek at your website and it was fascinating. Your question was also very interesting but here are a couple of concerns. Based on your post here and your website, your English isn’t perfect and it needs to be. I encourage you to spend more time with it, or have a fantastic English speaking critique group, or partner who will help you with this. Multi-award winning former student Yuyi Morales doesn't speak perfect English but she has a critique group that helps her with that part so it's definitely doable. The second part is that publishers want to publish folks who can promote their books in bookstores and libraries and schools where they are published, i.e. U.S. pubs want folks available in the U.S. This is more important for writers than illustrators for some reason but there it is. I am developing an online workshop/webinar for SCBWI Israel providing workarounds for this very subject. If you would like your French SCBWI to have me do one for you guys, just contact them to contact me. So in a nutshell, make sure your English is perfect everywhere that you appear, and after that I'd try for a European agent like Erzi Deak. I hope this was helpful and wish you the best of luck ~ Mira

Thank you very much!
It's true that I have my stories looked at, but never my blog.
And I have never had anyone look at what I have written in a haste...
And I must say... I 'm not good at all with spelling in french! :)
But my publishers have accepted my failures !
My english books have sold over 50 000 each even if I have never been available to promote them.
In france we have so so many translated books ! No one to promote them ! ;) But when the story is good, it makes it way. And the strange thing is that the illustrator is more important than the author...
For the moment I wouldn't be able to take part on an online course in english or french ! :) perhaps in a few years !
Thank you very much !

Charlotte Dixon

2/3/2014 04:35:16 am

Mira, I am so thankful that you taught the courses that I have taken. You tell us up front what to expect and how to interact with the world of publishing. You also give the tools and inspiration to help us on our path. Thank you for sharing the agent's role and and the checklist to help us with our submissions. This is a great way to start the week-thank you!

Hi Mira
I found this post really helpful. You mentioned in your reply to Nicole, that publishers want to sign clients that can promote their books in libraries and bookstores where they are published. Would you ever consider representing a client outside of the US then. I have asked this of a few US agents and they have answered that it doesn't matter to them, but in the children's literature world, I am sensing that it does.

I ask because I am an Australian, and I have found it quite difficult to find any agents who accept unsolicited manuscripts for picture books. I have seen so many authors offering skype visits to combat the cost of travel and availability, so do you think this will change who you consider representing in the future. Best wishes Julie

Hi Mira,
Yes! The post was very helpful. I especially liked the way you included the check list. I appreciate the time and effort involved writing and sharing the post. I wish I could take your writing course, I've heard many good things about it, but at the moment it's just not possible. Thank you for inspiring myself and others. Sincerely, Doris K. Stone

I really enjoyed reading this Mira! We know you are generous with time and wisdom but I have a better understanding of your POV! I wish you and your clients much success and publishing deals soon! I know this will be a great year for Hummingbird Literary! Hugs! Angie

Your attention to the details of the life of an agent, needed to be written, as we writers/illustrators, usually tend to think we're on the 'heavy' side of the see-saw, when in reality it's the other way around. Putting it in the business terms you site, makes it crucial for the agent to have good multifaceted decision-making skills, before anything is signed. This is a great post. I will organize myself better. Have a lot of 'clean-up' work to do, especially in my website. And this Kindle book, well, I'm on revision/re-entry of page 30 of 68 and I'm just beginning to see how far I was from "finished". Thank you for your insightful logic in all your teachings and passing comments. This is true "Mira Inspiration", given freely and with much passion.Thank you!!

Mira, I enjoyed this post so much! It distilled so much good wisdom about 'selling' your work to professional agents into such a quick read.
A huge help for any aspiring children's book author and or illustrator!

Thank you for your posts on the agent / client relationship. You are always an awesome encourager.

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anna rubin

5/19/2014 01:02:21 am

hello! and thank you for a wonderful article!
i've recently created the beginnings of a work for children. i've been advised that i should should NOT post any of my work on Facebook or wordpress, even for feedback and critique.

do you agree? could this jeopardize my chances with publishers?

many thanks!
warmest regards,
anna

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We are so excited to be mixing things up at the Children's Book Academy, beginning with some delicious additions to the Blogfish. Meet our awesome new bloggers!!

Here's our lineup:1st Mondays begin with Clear Fork/Spork editor/art director, former agent and former kidlit professor Mira Reisberg PhDwho is also the Director of the Children's Book Academy.

2nd Mondays will feature super smart Melissa Stoller whose career is taking off with new books coming soon.

3rd Mondays will feature Bryan Patrick Avery, published writer, man of mystery, and professional magician among other things.